骋怀于“心印”与“身印”之间:方闻对书法抒情表意功能的符号化诠释  

Wandering Between the “Image of the Mind” and the “Embodied Image”: Wen C. Fong's Semiotic Explanations for the Lyrical and Expressive Function of Chinese Calligraphy

作　　者：吴佩烔 Wu Peitong(the School of Humanities,Shanghai Normal University)

机构地区：[1]上海师范大学人文学院,上海市200234

出　　处：《文艺理论研究》2024年第5期116-124,159,共10页Theoretical Studies in Literature and Art

基　　金：国家社科基金青年项目“模态理论视域下当代美国汉学的艺术审美机制研究”[项目编号:22CZW010]阶段性成果。

摘　　要：如何理解书法的抒情表意功能,是当代美国汉学之中国艺术研究中的一大难题。对此,旅美华人学者方闻以书法用笔为中心,形成了结合身体视角的符号化诠释:将用笔作为艺术家主体存在于艺术作品内在结构之中的根本方式,并以书法用笔中的身体要素为核心,界定书法中情感的具身性和动态本质;以及经由身体语言与书法视觉语言的映射关系,解释情感在书法中的视觉展现模式。方闻对书法抒情表意的符号化诠释,与格雷马斯等的“激情符号学”理论形成了多处实质契合和可以对话互鉴的层面,从该角度加以考察,无论对中国艺术的跨文化传播,还是对艺术中主体情感表达问题的探索都具有重要参考价值。Understanding the lyrical and expressive function of Chinese calligraphy is a difficult issue for contemporary American sinology. Therefore, Wen C. Fong focuses on the brush strokes of Chinese calligraphy and makes semiotic explanations combined with the perspective of the body. He considers brush strokes as the fundamental way of artists' presence in the inner structure of art works, defines the embodied and active essence of emotions in calligraphy by the body factors in brush strokes, and explains the visual modes of emotions in calligraphy by the mapping relations between body and visual languages in calligraphy. Fong's symbolic reading of calligraphy's lyrical expressiveness resonates with the “semiotics of passions” proposed by Greimas, and this approach provides valuable insights for cross-cultural dissemination of Chinese art, as well as inquiries into the emotional expression of artistic subjects.

关 键 词：方闻 书法 抒情表意 用笔 身体 

分 类 号：J292.1[艺术—美术]